RTS Craft & Design award 2012
Last November Rupert Ray won best titles at the RTS Craft and Design Awards for Parade’s End, CG by 50 Percent Gray.
Read more here.
Mark Leckey’s “Made in ‘Eaven”, 2004 [see previous post].
This is Mark Leckey’s “Pearl Vision” which I worked on last year and was first shown in ‘Ghosts in the Machine’ at the New Museum of Contemporary Art in New York.
It’s an onanistic self portrait and I think, in a way, a remake of “Made in ‘Eaven” which I made with Mark in 2004.
50 PERCENT GRAY SHOWREEL 2012
When I look at other showreels I can never tell what’s been done by whoever is showing me their work, so I’ve tried to keep this to examples where I’ve done all the VFX work; the exception in this case being the Vitsoe [shelving] animation where I headed a team of 5 3D artists - the rest of the team producing most of the models to go on the shelves, as well as rigging, some of the incidental animation [birds, flowers, articulated lamps] and some UV and texturing work.
Some of the work is relatively straight forward involving modelling, lighting, shading, animation, compositing and so on, other parts are more layered and complex - though perhaps less shiny.
The clip of the map device for example involved creating a map type model of part of East London then rigging it so that it deformed based on the position and orientation of a user’s avatar. Then real-world iPhone orientation data was gathered from the device’s sensor and used to drive the model. This was rendered and composited onto footage of a dummy tablet device whence the data had come.
Software Used :
Maya - Nuke - Shake - PFTrack - SFMToolkit - Meshlab - Photoshop
Excerpts from Mark Leckey’s ‘Pearl Vision’, shown first in ‘Ghosts in the Machine’ at the New Museum of Contemporary Art, NYC. To be screened in the UK on Channel 4 as part of their Random Acts series.
’Parade’s End’ title sequence for Rupert Ray. From the BBC / HBO adaptation, screened in the UK Autumn 2012. See this post.
Excerpts from Mark Leckey’s ‘GreenScreenRefrigerator’, first screened at Gavin Browns Enterprise, NYC, October 2010, subsequently show at the Serpentine Gallery, London, 2011. See here for the New York version.
Excerpts from Sony Bravia idents produced by Airside for Fallon. Co-directed by Dick Hogg at Airside and Juan Cabral at Fallon. See this post.
Excerpt from Climate Gallery graphics by Clay Interactive for The Science Museum, London, UK
Excerpts from Mark Leckey’s ‘Thing in Regent’s Park’. More here and here.
Outro Animation from Francesco Vezzoli’s Greed, directed by Roman Polanski, first shown at Gagosian Gallery, Rome, 2008. See this post.
Excerpt from Vitsoe website relaunch homepage animation. Directed by Malika Favre at Airside. See this post.
Excerpt from ‘Here and Then’ project for BERG London
Excerpts from ‘Mechanical Pinocchio’, full version here
Excerpt and detail from Mark Leckey’s ‘Flux’. First shown at Galerie Buchholz, Cologne, 2010. Full version here
Excerpt from ‘Suwappu’ by BERG London for Dentsu London. See this post.
50 PERCENT GRAY showreel 2008
Directed by Roman Polanski, I made the intro and outro animations for Francesco Vezzoli’s ‘Greed’, shown first at Gagosian Gallery, Rome. Michelle Williams and Natalie Portman were cast as they were the only two Hollywood A-listers who at the time hadn’t already endorsed a fragrance.
Interestingly, most of the online versions of this have removed the Gagosian branding from the beginning as if it weren’t part of the film.
This was made for Mark Leckey’s show ‘Resident’ at the Kölnischer Kunstverein in 2008.
This is a film I worked on with BERG for Dentsu London, directed by Timo Arnall and Jack Schulze.
The idea wasn’t seamlessly to blend the CG elements with the live action but to ape the on-the-fly rendering and compositing of an AR app.
Given the increasing power of miniaturised computers it was difficult to know how low poly and glitchy to go. We tried to exploit the beauty of low poly models rather than appear to be trying to disguise them.
This is a test I made while working on a job involving point cloud data. There is no manual modelling involved and the textures were generated using Oleg Alexander’s amazing texture projection tool [http://olegalexander.com/]. Similarly I didn’t edit them to paint out the gaps and errors.
I recently worked with Rupert Ray to make the title sequence for the new BBC / HBO adaptation of Parade’s End.
Unfortunately, extremely limited budget and resources meant continually turning settings and samples down until we had something even approaching practicable, so we weren’t able to accomplish some of the more subtle nuances of light bouncing around the mirrors onto the paper, but it seems to have gone down well… and it’s always about finding a balance.